革命、媚俗与颓废：半殖民地上海电影现代性的 三副面孔

Revolution, Kitsch and Decadence: Three Faces of Modernity in Semi-colonial Shanghai Films

中文关键词:  上海电影；半殖民地；现代性；左翼；媚俗；颓废

英文关键词:Shanghai film, semi-colony, modernity, left-wing, kitsch, decadence

中文摘要:

      20世纪三四十年代，在上海，中国电影进入了成熟期，它既不同于20年代单一的商业电影体系，也不同于1949年后单一的政治电影体系，而呈现为政治、产业和美学的多元并置性，具体表现为三种电影类型：左翼革命电影、商业类型电影和颓废现实电影。从现代性的维度看，又存在相互交叉，分别体现了现代性的三个侧面，即“左翼电影的革命现代性”“‘软性电影’的媚俗现代性”和“小资电影的颓废现代性”。

英文摘要:

      In the 1930s and 1940s in Shanghai, Chinese film entered a mature period. It was both different from the single commercial film system in the 1920s and the single political film system after 1949. It appeared as a multiple juxtaposition of politics, industry and aesthetics and was specifically expressed as three types of films: left-wing revolutionary films, commercial films, and decadent reality films. From the perspective of modernity, there exist intersects, which respectively reflect the three aspects of modernity, namely, “the revolutionary modernity of left-wing films”, “the kitsch modernity of ‘soft films’” and “the decadent modernity of petty bourgeois films”.